Lithography
MINERAL INLAY
As for gravures the technique of lithography is long and delicate requiring hours of preparation to produce a final work of art.
Michel Rigel uses the technique of lithography invented by Alois Senefelder in 1796.
After the initial study of the design and the separation of colours have been completed, a plate made from a smooth piece of limestone is fine sanded before the reversed design is drawn using a fat or oil-based medium onto the stone.
When this "lithographic ink" has dried a solution of water based Arabic Gum mixed with nitric acid is applied to the stone and due to the absorbent qualities of the stone and the repelling effect of the lithographic ink the natural techniques of nature can take place to help produce a work of art..
When the stone is completely dry, the drawing is washed with turpentine, which eliminates the lithographic ink; we now have a “plate” ready for the printing process.
With the stone dry and ready for printing, the surface is moistened with water and inked with a roller. The fatty substance of the oil-based medium repels water and so retains the ink.
With a reverse drawing of the final work of art in the stone the paper is laid up and pressure is applied.
The last operation is repeated, as many times as there are different colours in the final lithography, noting that each different colour requires a new stone.
Michel Rigel develops his Lithographs based on 6 colours, so 6 stones and 6 runs of the press.
Mrs. Remy of “Bellini” taught Michel the ancient art on the Toulouse Lautrec machines and brought him into contact with Viera Da Silva and Zaou-Wou-Ki the technicians behind the lithographs of Carzou, Buffet and Dali..